tamarin norwood

what the point is : the end of the line is an essay in sculptural form, composed of drawing, video and assembled objects. This new body of artwork develops a chain of analogies between the tip of the pen/cil, the first person singular, the line of sight and the I-beam cursor. It asks: how is the object answered by its representation, and how is the subject consoled by it?

The exhibition is accompanied by a programme of events drawing upon the artist’s parallel writing practice.

Friday 25 September 6-9pm
Opening Event: A screening of short video works with readings of recent texts by the artist, compiled to examine gesture and pictorial figuration in drawing and writing.

Saturday 3 October 4-6pm
Launch of a limited edition publication created as an artwork in counterpoint to the exhibition. The artist book is introduced with new writing by Nico de Oliveira and Nicola Oxley.

Friday 30 October 6-9pm
Closing Event: Tamarin Norwood discusses her work with exhibition curators Nico de Oliveira and Nicola Oxley, addressing the works on show as they intersect with her wider project of studio research.

Withdrawn, intent, deaf and blind to the world, readers commune in silence. They scan and internalise, mouths made defunct in the passage of knowledge, and yet it was not always thus. Saint Augustine marvelled at the way Saint Ambrose read: ‘His eyes travelled across the pages and his heart searched out the meaning, but his voice and tongue stayed still.’ There is a certain amount of argument surrounding the exact moment in antiquity that the text became ingested in silence. Alberto Manguel, among others, suggests that this ‘silent perusal of the page’ was not commonplace until the tenth century. Did we lose something else, along with the innocence of our reading habits? In putting our ears away, as Nietzsche
would have it, did we too lose our voice – ‘all the crescendos, inflections, variations of tone and changes of tempo in which the ancient public world took pleasure’?
Silence is the law of the library, even in a place of such theatrical potential as the Goldsmiths’ Reading Room. In the wings though, in the private monastic spaces of its study carrels, where a reader’s lips can flutter away in a whisper, unheard, loud voices might muster. On the 26th of April, that potential will be realised, as six invited readers will make themselves heard in the silence of the public space. Emerging one by one from the privacy of their cells they will proclaim the meaning that their hearts have searched out.

Mopher, where performance, art, writing, poetry, voice, concept and sound meet to wither and perish in order to rise again as something else, more than the sum of its parts. Mopha is a singular art performance / live poetry collective made up of six of the UK’s most accomplished artists / poets – Holly Pester, Patrick Coyle, Emma Bennett, SJ Fowler, James Wilkes and Tamarin Norwood.

Eschewing and mulching the multiple genres of live art and experimental writing, Moffa will premiere it’s work in 2014 at multiple venues in multiple forms.

Exploring notions of fractured speech, aberrant theatre, surreal vocality, performativity and audience expectation, improvisation and its tropes, compressed communication, humour and bleak irony, Moffer aims to create powerful immediate, arresting and unique works of performance that are mindful, and responsive, to their construction and contextual environment. Wholly collaborative and essentially collective, the works of Moffar will pool and mutate the already adept live practices of six powerful performers into a uncommon mesh of theatre, art and poetry.

At the end of our year-long collaborative residency between Italy and the UK, we’re celebrating with screening and discussion events in London and Abruzzo. I’ve been working with Italian pianist Rossella Rubini to produce a new video artwork called ‘Keeping Time Again’.http://www.tamarinnorwood.co.uk/keeping-time-again-london-abruzzo/Friday 31 May, 7pm in Abruzzo, ItalyFriday 7 June, Central Saint Martins, King’s Cross London N1C 4AA

Musica Practica at Platform33
Following its performances at Tate Britain and Modern Art Oxford, my conducting piece ‘Musica Practica’ is returning to London as part of Platform33’s biggest event to date. As it’s P33 I’ll be giving an informal talk about my work over the course of the evening, along with conductor Anthony Weeden. Details and other contributors here:http://www.tamarinnorwood.co.uk/sunday-musica-practica-at-kings-place/Sunday 2 June, 4pm at King’s Place, London N1 9AG

Dawn Chorus on twitter
Next weekend I’m one of seven writers each stationed at a National Trust property for the night, up before dawn to lead a mass observation on Twitter. An original idea of Natasha Vicars, the project was developed through the Live Art Development Agency DIY initiative, and this will be its third iteration. (yes that really is 2:45 in the morning)http://www.tamarinnorwood.co.uk/dawn-chorus/Sunday 9 June, 2:45am-5am on twitter: #dawnchorus

Through a short residency at Modern Art Oxford(31st January – 19th February), Tamarin Norwood will explore the Legacy Fellowship to develop a visual vocabulary of choreography, instruction and transcription. As part of her ongoing investigation of the gaps between words and things, rules and games, intentions and accidents, she will track the progress of the Fellowship to create a new body of text and video work.